A Quote by Kevin Bacon
With a lot of actors, you've got to chip through the surface to see who the real person is.
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As sculptors chip away the stone in order to find the statue, writers chip away extraneous verbiage so readers can see the shape of an idea clearly. My gift is to see through the confusion, to bring order and simplicity to a story.
My livelihood depends on my surface beauty, but when I wash my face, I see a real person there.
For years Corky was what I call a jokester. He'd tease me with things like, 'You've got breasts like two currants on a breadboard' or 'You've got a sunken chest like a pirate's something or other.' He didn't like my teeth until I got braces at 25. It's like a little pickaxe that goes, chip, chip, chip, until, in the end, you think you are ugly.
In marriage you got to go through the same struggles as a relationship, that's if the relationship is real, because there's a lot of non-real relationships going on in the world right now. And I think that's just because of the day and age we're in, a lot of these relationships are taking place over text messages, it's not real substance. But when you got a real one, it's already like a marriage.
I don't see myself as one type of actor. When you get one role, you start to get cast in that role for awhile because that's what people have seen you do, and have hopefully seen you do it successfully. And so, it becomes an easier thing to see you as, for casting directors and directors, and they start to think of you as that particular person or type of character. But, for me, I'm just an actor, first and foremost. The actors I respect are the real character actors, who are the real chameleon actors that completely change from role to role.
Actors and actresses who say they never go to see their own pictures are talking through their hats. You don't have to be a Freud to know that the most fascinating person in the world - actors or anybody - is yourself.
It hadn't really percolated through my brain that I was going to see real, live TV from the surface of the Moon, and boy, oh, boy, had that Saturn V launch been exciting! And then, there it was - late at night, sitting up, watching, and there was Neil Armstrong actually standing on the surface of the Moon.
When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.
People are very uncomfortable when you call actors artists because there are a lot of actors out there that aren't artists - there are a lot of actors that are hired for very specific reasons that are shallow and have to do with sexual currency and what the industry thinks sells. Real actors are artists, they're expressionists.
You can't be a good actor if you get too affected by fame. Because then you're not real, and you're not really wanting more. You look at a lot of actors who, before they were famous, did a lot of amazing work, and once they got too big, it just got off.
You can't get at the thing itself, the real nature of the sitter, by stripping away the surface. You can only get beyond the surface by working with the surface. All that you can do is manipulate that surface - gesture, costume, expression - radically and correctly.
For a person to build a rich and rewarding life for himself, there are certain qualities and bits of knowledge that he needs to acquire. But there are also things — harmful attitudes, superstitions, emotions — that he needs to chip away. A person needs to chip away everything that doesn't look like the person he or she most wants to become.
There's a commonality in a lot of the great quarterbacks in the league, that they have the chip on their shoulder - from something. Aaron Rodgers, Tom Brady, Patrick Mahomes, Russell Wilson - I mean, they all have something that got them to have a little chip on their shoulder, that makes you continue to work really, really hard.
The underlying tension of a lot of my art is to try and look through the surface appearance of things. Inevitably, one way of getting beneath the surface is to introduce a hole, a window into what lies below.
I think a lot of actors need validation. If you see truly amazing actors perform, they expose themselves to such an incredible degree. You can really see their pain.
I realize I have a lot of amazing opportunities, but I don't know how you can play a human being going through real human experiences without being able to walk down the street. If you can't live a real life, how do you play a real person? It always confuses me when actors work back-to-back-to-back with no break. If you live your life on a film set, how the hell can you relate to real people? You don't know what its like to not have people fussing over you all day, and that's not life - that's silly movies. I will always want to take breaks and I wouldn't be OK with losing that.
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